2018-02-20 - Edit:
Okay...this SHOULD be the last freaking time I throw these out at kevinselby.com (yes, I have the domain again and probably will have it until I expire (or the Internet expires...whichever comes first...probably I will expire first). I'm hoping to NEVER MOVE THESE AGAIN.

2013-11-09 - Edit:
Sorry gang...kevinselby.com is no more. So the links to the various documents are going to break I'm afraid. This particular forum (at the time I think?) didn't allow uploading .pdf's or .doc's or whatever...or perhaps it was the file sizes. No matter...this tutorial itself is still very relevant and hopefully continues to help folks.

Oh...and kevinselby.com wasn't "buying" me anything so I figured why support the domain and monthly charges when more and more companies are providing little landing "spots" on the web for free (like wordpress.com for example?).

K

I have stuck the files at my website and here are links:
[these are for people, who, like me, want to get the tutorial, print it out, and take it somewhere to read in blissful silence].

There still seems to be some confusion around the effects on the R16. This post is an attempt to help folks wrap their minds around the three different effects on the R16.
There are TWO "Send/Return" effect routes and ONE "Insert" effect route.

IF YOU ARE A BEGINNER, THEN I ADVISE YOU TO READ THE FIRST PART (immediately below) AND PLAY WITH SEND/RETURN EFFECTS FIRST AND LATER, YOU CAN READ ABOUT/PLAY WITH INSERT EFFECTS (further down below).

First, let's get ONE simple thing straight:

Inputs are different from Tracks.

Inputs = one of the EIGHT XLR/TRS jacks on the back of the R16. These inputs are used to hook guitars, basses, microphones, and keyboards up to the R16 so that the R16 can "hear" the signals from these instruments and record those signals to:Tracks = one of the SIXTEEN tracks inside the R16 where you have recorded signal onto. A Track is really an abstract thing because it's sort of invisible to you OTHER than the track fader that you can use to raise or lower the tracks volume, and the other parameters you can control about the track (panning, EQ, send/return effects, etc.).

There are TWO "Send/Return" effects signal routes on the R16:
1. Reverb (many different "room" and "hall" presets to choose from).
2. Chorus/Delay (many different chorus and "echo" (delay) presets to choose from).

Send/Return effects are "global" in nature such that tracks 1 through 16 can all "send" a dry (non-effected) signal to one or both of the send/return effects and the effect(s) will "return" signal back "wet" (signal has effects on it). The cool thing about the Send/Return effects is that as a musician, you really don't have to "think" much to use these effects quickly and easily. They work when the signal is coming INTO the R16 (via an "input" such as inputs 1-8 on the back of the R16) AND THEY ALSO WORK on an existing recorded track. What's cool about this is that when you stop recording that vocal track, you don't have to "switch" the "location" of the effects when you use send/return effects like you do when you use the Insert effect (more on that below). You could be sending a vocal input signal (e.g., a nice dynamic microphone connected to Input 1, for example) to the send/return reverb (using the "Soft Hall" preset for example) and while you listen to the instruments (previously recorded on other tracks) your vocalist can "practice" their vocal WITH Send/Return effects and feel comfortable singing along with the instruments and their vocals will sound very nice with some reverb (and/or chorus/delay) on them. The vocalist then tells you (the engineer!) to actually record, so you record their vocals through the whole song and then you rewind the R16, hit the Play/Mute/Rec button for Track 1 until it glows green (to switch it to Play) AND WITHOUT DOING ANYTHING ELSE...you hit the Play button to start the song and their recorded vocal (sitting on Track 1) will STILL have reverb on it because you are using send/return reverb and it's basically ALWAYS active (if you have it turned on and turned up for the particular track of course).

Contrast that with the Insert effect where you have to "assign" it to an Input (remember, Inputs are different than Tracks) and your vocalist will hear their vocal with whatever insert effect you happen to be using and when you're done recording and you rewind and set Track 1 to play and then hit the Play button BOOM: no effects on Track 1 (unless you have set the R16 to record the track "wet" which most people don't recommend because you can't remove it later). So what happened? Nothing bad happened. You simply have to now turn around and set the Insert effect to be "assigned" to Track 1 (remember, Track 1 is different than Input 1). When you pressed the Stop button on the R16 (after the vocalist recorded their gorgeous pipes), what basically happened is the R16 stopped laying down audio information into the .wav file attached to Track 1. When you hit Rewind and turned Track 1 to "play" and hit the Play button, now the R16 is simply playing back the .wav file attached to Track 1 BUT...because the Insert effect is still "assigned" to Input 1 and NOT Track 1, you don't hear the effect. Once you "reassign" the Insert effect to Track 1 (and not Input 1), then the previously recorded signal on Track 1 will THEN go through the Insert effect and sound all nice again.

So there's a trade-off going on here:

The Send/Return effects tend to be more "general" in nature (general generic reverb "rooms" and basic choruses and delays), however, they're essentially always "on" (if you have them turned on for the given track(s)) and you don't have to think to reassign them after you hit the Stop button.

The Insert effect tends to have a bunch of presets that are very specific in nature and are designed to do very specific things to the signal (vocal effects that enhance a male vocalist frequencies, delays (echos) that are very specific to certain types of music, compression effects that are designed for specific instruments like guitar, etc.). So while the Insert effects are very specific and in many cases "better" than their Send/Return counterparts, they are a little harder to use and you really have to THINK to use them. Because they are "harder" to use and are sometimes "better" then their Send/Return counterparts, they are VERY powerful, ESPECIALLY when you consider the concept of bouncing a Track THROUGH the Insert effect TO a destination track (and now the destination track has the Insert effect "burned into" it).

Because of these trade-offs and differences between the Send/Return effects and the Insert effect, most beginners should start out messing with Send/Return effects and use Insert effects when they've read the manual a little more or experimented a little more with signal routing.

In all diagrams - please realize that there are an additional 8 tracks (an additional 16 in the case of the R24) besides the 8 shown - I show 8 just for simplicity and to show the DIRECT relationship between the Inputs and their related Track

Here's a quick diagram:

R16_SendReturnEffects_Small.png

That brings us to: Insert effect:

There is ONE "Insert" effect signal route on the R16.
HOWEVER, either by "bouncing" a dry track THROUGH the Insert effect to a destination track, OR by recording the track "wet", you can "reuse" the Insert effect many different times to accomplish what you want.

Let's start with recording "dry" and then bouncing a dry track THROUGH the Insert effect to a destination track. Please realize that even though we are recording "dry", we're STILL going to use the Insert effect for "monitoring" which means we can have our vocalist sing into the dynamic microphone (which is connected to Input 1) and the Insert effect will be "assigned" to Input 1 for example, and the vocalist will hear their voice wonderfully effected and will be all warm and yummy about it BUT because the actual "recording" of the audio to Track 1 is "dry", the Insert effect will NOT be "burned in" or "printed" to Track 1. Keep reading.

Here's is a before/after diagram showing the Insert effect assigned to Input 1 (remember, Inputs are different from Tracks) and then later, after recording, we RE-assign the Insert effect to Track 1:

R16_InsertEffect_Input1__Track1_Dry_Small.png

Hopefully you're starting to "get the picture" that the Insert effect is sort of a "roving" effect. You can use it to modify signals coming INTO the R16 and if Rec Setting is "Dry", then the actual resulting Track will be dry, but if Rec Setting is "Wet", then the actual resulting Track will have the Insert effect "printed" or "burned in" to it.
Send/Return effects on the other hand, are basically "always on" (if you want them to be) and are basically "stationary" and can't really "rove". Now...sure...there are some tricks you can do with bouncing where you could make use of DIFFERENT Send/Return effects, but for beginners (and for the most part, anyone trying to make life easier for themselves), I would personally prefer to think of Send/Return effects as somewhat stationary and always on and available.

Record track "dry" and bounce THROUGH the Insert effect to destination track:

1. FIRST, let's set the Insert effect to be "assigned" to Input 1 (where your dynamic microphone is connected). Pick a decent "preset" so that you feel comfortable singing:
a. Push the Insert Effect button.
b. If the screen says "Off", then push the Enter key.
c. If the screen shows some type of Insert effect, then simply use the left and right arrow keys to move around the different effect "types" or "categories" and use the scroll wheel to move up and down the "presets". Remember, Zoom has divided their Insert effects into different "categories" of effects and within an individual category (like DISTORTION), you might find 40 or so different "presets" of very different (from each other) types of distortion effects (my person fave is "UK Blues"...but that's just me trying to be a rock guitar demi-god).
d. Assuming you have selected the Insert effect that you want, now use the left/right arrows to navigate until you see: INPUT SOURCE. THIS is where you will "assign" the Insert effect to INPUT 1 (and, later, TRACK 1).
e. If you see "INPUT SOURCE" on the screen, push the Enter key.
f. You can now use the scroll wheel to "assign" the Insert effect to Input 1.
g. Sing or play whatever instrument is connected to Input 1 and you should hear it with the Insert effect affecting it.
h. Push the Enter key to back out of that part of the menu.

2. SECOND, Make sure the R16 is configured to record "dry":
a. FROM THE PREVIOUS BULLETS ABOVE:
b. Push the Left arrow button. The screen should now say REC SIGNAL. Push the Enter button.[if you backed out of all the menus from the previous bullets, simply do this: Push the Insert Effect button; Make sure you're on the actual Insert effect that you wish to use; Push the down arrow; You should see "EDIT" on the screen, push the right arrow until you get to "REC SIGNAL"]
d. Using the scroll wheel, make sure the setting is "Dry" and NOT "Wet".
e. Push the Exit button 3 times (or whatever it takes to get all the way out of the menus).

You are now ready to record the vocal track and the Insert effect will NOT be "burned in" to the .wav file that will be attached to Track 1.

3. Record the vocal (or guitar part or whatever).

4. Now you need to immediately "re-assign" the Insert effect to Track 1 (very different from Input 1):
[this is the part I don't like...this is the tradeoff when using Insert effect because you have to re-assign it].
a. Push the Insert Effect button.
b. Push the down arrow.
c. Use the left/right arrows to navigate to INPUT SOURCE. Push the Enter button.
d. Use the scroll wheel to move the source to TRACK 1 (are you NOW starting to see the difference betwixt INPUTs and TRACKs?).
e. Push the Exit button multiple times until you're all the way out of the menus.
f. Track 1 IS NOW YOUR "SOURCE TRACK" for the vocals (or guitar or whatever you recorded).
Since it was recorded "dry" it is perfectly "pristine" and you can technically bounce it through different Insert effect presets to try different ones out until you're happy.
AT THE END OF THE DAY: the .wav file attached to Track 1 is STILL your "source track" and you should protect it as such. Don't just throw it away or delete it or record over it BECAUSE you can always bounce it through yet another different Insert preset to a destination track OR you could conceivably copy the .wav file from Track 1 off the SD card in the R16 and pull it into your DAW software and use even more different effects within your DAW.

5. Now you have to set up a "destination track" to bounce your source track to. In my example, I'm using Track 2 as my destination track. This is the track that will "receive" the signal coming to it from Track 1 THROUGH the Insert effect. Sometimes these destination tracks that have effects recorded on them are referred to as "burned in" or "effects printed" or "wet" tracks. I prefer "burned in" because it gives you the mental image that at one point, the audio signal was dry and it went THROUGH an effect and was then recorded with the effects being "burned into" the resulting .wav file.
a. FIRST, push the Play/Mute/Rec buttons of all OTHER tracks until they are OFF (the little light isn't glowing green or red).
You should ONLY have the source track (in our example, Track 1) "lit" green.
b. Push the Play/Mute/Rec button of the destination track (Track 2) until it is red. You are "arming" the destination track to receive signal.
c. Send/Return effects ARE RECORDED AS WELL IF YOU HAVE THEM ON!!!!!!! I cannot emphasize this one enough: IF you don't want additional Send/Return effects "burned in" to your destination track, then the easiest way is to turn them off globally: Push the Send Return Effect button, Push the Enter button until you see "Off", push the left/right arrow buttons to get to the second send/return effect, push Enter to turn it "Off" as well.
d. Push the Swap/Bounce button.
e. Use the left/right arrows to get to BOUNCE. Push the Enter button.
f. Use the scroll wheel to turn it "On".
g. Rewind or go to the part of the song where the vocals (or other instrument) is the loudest. We are going to "set our levels" BEFORE we actually bounce the track because we don't want to "clip" on the destination track. Many times, when a source track is bounced THROUGH the Insert effect, the Insert effect itself magnifies the volume of the source track such that you COULD clip the destination track if you're not careful.
h. THIS IS CRITICAL: BOTH the Track 1 fader **AND** the Master fader (the Red colored fader) affect the signal strength that goes to the destination track. Watch the signal LED's on the destination track (Track 2). Make sure they are in the orange (-6 db) as much as possible. Pull the Master fader (red fader) down all the way, notice the signal LED's on the destination track drop to nothing. Set the Master fader back to 0 (or wherever you had it). Pull the source track fader (Track 1 in my example) down all the way, notice the signal LED's on the destination track drop to nothing. BOTH faders affect the amount of signal going to the destination. Notice that the Gain knob on the destination track (Track 2 in my example) DOES NOTHING. Move it all you want and watch the signal LED's for the destination track. They don't change at all. Notice ALSO, the Fader for the destination track (Track 2 in my example). Move it all you want and watch the signal LED's for Track 2. They don't change at all.
i. Once you are satisfied that you have good clean strong signal going TO the destination track, rewind to the front of the song.
j. Push the Record button.
k. Push the Play button and let the song play out. What is happening here is the R16 is playing the .wav file recorded on Track 1 THROUGH the Insert effect ONTO Track 2 and Track 2 is creating a .wav file (as the song moves forward) with the Insert effect signal "burned into" the .wav. When the song is over, push the Stop button.

6. WHEN YOU ARE DONE: the destination track should now be able to be "played" with no send/return effect NOR any Insert effect directly assigned to it and it should have the particular Insert effect you were using IN it.
In fact, you could conceivably yank the .wav file associated with Track 2 (the destination track) and pull it onto your computer and listen to it BY ITSELF and you would hear it WITH the particular Insert effect you used in the bounce. OR, if you forgot to turn off Send/Return effects, you just might hear the Insert effect AND the Send/Return effect(s) in the destination .wav file.

7. Also remember: you could use one of the vocal Insert effects (like an echo or long delay) assigned to Track 1 and bounced over to Track 2 and now you could technically use some Send/Return reverb (again, "soft hall" anyone?) on Track 2 and you would actually have TWO effects being "applied" to Track 2. One effect (the echo/delay Insert) is "burned in" to the .wav file attached to Track 2, and the send/return reverb is being "applied" to Track 2 in real time.

Record the source track (Track 1 in our example) "wet" so the Insert effect is "printed" or "burned in" to the source track - no bouncing necessary:

The more you mess with the on-board effects of the R16, you might just find that you are fairly comfortable with certain Insert effects and you are SO comfortable with them (and you don't EVER plan on changing the effect on a track after the fact), that you would be comfortable enough recording the Insert effect "wet" to the track. I want to remind us one more time: this is the LEAST flexible approach because once you record the source track (Track 1 in our example), "wet", you CANNOT remove the effect off of the .wav file attached to Track 1. You "get what you get". But...this assumes that you love a particular Insert effect and will never ever beat yourself with a wet noodle because you recorded it "wet".

Here are the steps:

1. Configure the R16 to record the Insert effect "wet":
a. Push the Insert Effect button.
b. Push the down arrow.
c. Push the left/right arrows until you see "REC SIGNAL".
d. Use the scroll bar to move it to "Wet".
e. Push the Exit button enough times to get all the way out of the menus.
f. Arm your track (in our example, Track 1) by pushing the Play/Mute/Rec button until the light is red.

2. Make sure the Insert effect is "assigned" to Input 1:
a. Push the Insert Effect button.
b. Push the down arrow.
c. Push the left/right arrows until you see "INPUT SOURCE".
d. Push the Enter key.
e. Use the scroll wheel to "assign" the Insert effect to Input 1.
f. Push the Exit button a number of times to get out of the menus.

3. Record the track

4. Now when you hit Rewind and then Play you DO NOT HAVE TO REASSIGN THE INSERT EFFECT - this is because it was recorded "wet" and has been "burned in" to the .wav file assigned to Track 1.

5. In my personal experience, once I'm comfortable with a particular distortion guitar or tremolo effect, I usually record "wet" because it saves time.

6. NEVER FORGET THOUGH: If you record "wet" you CANNOT take the effect OFF of the recorded .wav file. You had better be happy with what you "get". In general terms, I would advise recording wet for "background instruments" that don't have a solo section or other prominent spot in the song. For solo instruments (and especially vocals), I would always record "dry" just to protect yourself from yourself.

Here's a set of diagrams that illustrate:
1. Recording the Insert effect "Wet"
2. Bouncing a track through the Insert effect to another track
3. Using the Insert effect as a Mastering effect (see also THIS post: viewtopic.php?f=17&t=16794 for a tutorial on creating an EXCELLENT "boost" mastering preset that you can use to get great results when mastering your project on the Rxx series).

R16_InsertEffect_Track1_Wet_Bounce_Master.png

And that's it! Hopefully this helps folks understand the differences between the Send/Return effects (reverb and chorus/delay) and the Insert effect.

Until next time.

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Last edited by selbalicious on Tue Feb 20, 2018 5:43 pm, edited 19 times in total.

Great dissertation! It would be great if this could be made a sticky so that new users could be easily referred to it. I have to say that the whole issue of effects is the one thing that didn't come to me easily after reading the R16 manual. I don't really use the effects anyway, nor plan to, but I still read your explanation just to help me grasp the whole concept. I'm glad I did.

I've been lurking on these boards for a couple of months but now I felt I had to register if only to say "Thank you"!
Reading the R16 manual really didn't explain to me how the various signal routes work, but your text made all the missing pieces fall in place.

Now...if I was a REALLY good "instructor", I would draw up some pictures and add them to this.

Some folks are "visual" learners, some are "textual" learners (and I suppose some are both).

Let me see if I can find some time today to try to "draw" the difference between the two types of effect chains.

The funny thing about "manuals"? I will never forget an English 402 class I took in college. One of the assignments was to write up a manual on something simple. I chose to write the manual on how to start a riding lawnmower and mow the lawn. DANG that was hard. It's like you have to draw upon every possible nuance of the english language and frame things in such a way that they: 1. help "fix" the concept in the reader's mind and 2. cannot be misunderstood to mean something else.

It's difficult people! That's why I don't slam technology companies (like Zoom and others) for poor or inferior manuals. It's hard work! In fact, in my opinion, Zoom's manuals aren't that bad. They sometimes would "draw" pictures in the manual that didn't immediately make sense to me, but again, a picture can mean a bunch of different things to different people.

The other funny thing is that musicians themselves can usually draw up slightly better descriptions of the working knowledge of a piece of gear because THEY have to actually use it! Imagine that! I say that as I think about some of the wonderful "manuals" for the Yamaha AW16G that were written up by "power users". Very easy to understand because they were written by folks that not only had to use the AW16G, but LOVED the unit and wanted others to understand how powerful it is.

We're actually lucky in our shared love of the R16 because Zoom simplified things in terms of inputs going directly to tracks. On some of the other "stand-alones", the manufacturers spent much time, money, and effort making their inputs "routable" such that inputs 7/8 (for example) could be routed to tracks 1/2. Inputs can be "ganged" together such that maybe 4 inputs (5/6 and 7/8) get "mixed" down to tracks 3/4. These same manufacturers ALSO did stuff where the track faders can perform multiple tasks. Talk about confusing! I have read the AW16G's manuals and "power user" documentation multiple times and I'm JUST NOW starting to understand the elegance and power of that little box.

Fortunately for us (in my opinion!), the R16 isn't like this and you "get what you get". An Input routes to its associated Track. Period. About the only possible weirdness there is if you maybe have the track faders swapped over to tracks 9-16 and then Input 1 actually sends its signal to Track 9. But this is a pretty easy concept to digest so it still tends to portray a "one-for-one" relationship between an Input and a Track.

great tutorial!
its true the R16 is a pretty transparent machine - especially compared to other stand alone recorders, and i'd say tls11823 is right that the whole insert affect routing thing is the least obvious aspect of it.
good luck with the drawings!

Since this forum won't allow attachments of .pdf or .doc or .ppt (boo), I have stuck the files at my website and here are links:
[these are for people, who, like me, want to get the tutorial, print it out, and take it somewhere to read in blissful silence].

Really excellent work, Selbalicious, many many thanks...
This helped me a lot.

Just for the sake of perfection, and to prove to myself that I was following your every word and have understood everything, in your first article entitled R16 effects tutorial, first one in this thread and also first file in your pdf list, you wrote:

"You could be sending a vocal input signal (e.g., a nice condenser microphone connected to Track 5, for example)"

Surely you mean Input 5 here? You continue with this example later using input 5 and recording to track 5, but the mic is initially connected to Input 5 here, in order for the singer to practice, right?

plankspanker wrote:"You could be sending a vocal input signal (e.g., a nice condenser microphone connected to Track 5, for example)"

Surely you mean Input 5 here? You continue with this example later using input 5 and recording to track 5, but the mic is initially connected to Input 5 here, in order for the singer to practice, right?

You're absolutely right. Plus, I created the post first and then came back many days later and created the graphics and (I'm shouting here so people understand): THE GRAPHICS DO NOT MATCH THE EXAMPLES IN THE TEXT.

It's mainly because the text examples talk about a condenser microphone connected to (as you point out!) Input 5 and the graphics show a microphone connected to Input 1. I may (if I have time) completely revise this so that the text examples match up with the graphics examples.

Very good of you to point that out. Now that I have it ALL in a Word document, I think I'll just fix the text examples to talk about Input 1 rather than Input 5. That's probably the easiest fix to make.

I just got an R16 a couple days ago, and I really like it. I'm just messing around seeing how everything works. Thanks so much for the tutorials posted here ! Great resource.

I have a question about the insert effect. Is it possible to set the effect (for example a delay) to 100% wet, so that I only hear the effect and not the dry part going into it ?

In the past I've used Adobe Audition, and I had it running on a computer that could not handle a lot of real time effects. So to get around this I would make a copy of a track, and then process that wav with whatever effect I wanted (delay or reverb or whatever) at 100% wet. The result would be no sound of the original source - just the effect. Then I would mix the original dry track with the 100% wet track, dialing in the wet track to a level I desired. It was a way of having flexibility with being able to adjust this at a later time if desired, instead of just "printing" the wav "effected" permanently.

Would it be possible to do this on the R16 ? With only 16 tracks available, I wouldn't want to do it too much, but I think it would be nice to have that extra adjustment flexibility sometimes on certain parts.

I tried experimenting with this possibility on MIC 04 Long DLY, but I couldn't find any page where I could adjust this Wet percentage. Perhaps someone can point me in the right direction ? Or maybe it's not possible.....anyway any help would be appreciated.

I mainly plan on using the R16 just to record raw tracks and then copy the files to a computer, and mix there. But I will also experiment with different mix ideas right in the R16 as well. It's going to be great for working things out.